The Conjuring Official Trailer 2013
An
objective framing shot of the family entering the new house makes the audience
look at the family from an outsider’s perspective, suggesting someone in the
house watching them. A medium
long shot allows the audience to see the upstairs, where they are playing hide
and seek. The emptiness of the upstairs highlights suspicion and that something
is hiding in the house. Many point of view shots are used in horror films to set the scene.
The set portrays an intense mood in the horror genre; making the film scarier
and therefore effective. Fast, panning shots of a child hiding under the bed
relate to horror as they show the stereotypical unknown that hides under a child’s
bed. Another technique used is the use of a back facing camera; it shows the
child’s back in a shallow depth of field, which sees the audience watching the
child from behind. Back to the camera, a
high angle shot allows the audience to see more than just the woman standing there,
they also see an open door, used to build suspense. In addition the camera is
placed in objectively, which could allow the audience to feel her emotions or
as the spirit watching her. A hand held camera is used to create verisimilitude
and hysteria. Horror films nearly always use a hand held camera for action
scenes as it helps the audience to feel what the protagonist is feeling.
In the horror genre, low key lighting creates subtle darkness allows the audience to imagine movements and figures in the dark, making the trailer scarier to watch. Furthermore, it can create shadows on the wall which develops the idea of something following the protagonist. Nostalgic memorabilia such as the old wardrobe and old paintings represent the haunted house. As the wardrobe opens, it becomes clear to the audience that the wardrobe is home to someone’s hands. Almost every horror uses symbolism to intensify the story. Crucial in this trailer the blindfold portrays the fact that the audience know there is something there, however they can’t see it. Mirrors are used to show that we can see what’s going to happen before the protagonist from the reflection. We see the woman in the mirror with an open door, with darkness outside the room. Usually, horrors have many doors as they suggest the feeling of being unable to escape. The black basement represents the unknown. A grey atmosphere implies the coldness down there, similar to the coldness of death. The only light bulb gets smashed, which leaves the woman in darkness; but the light doesn’t just die, it fizzles out and smashes. This is when the woman lights a match. Stereotypically, the match light flickers proving there is something moving it, as the flame is sensitive to movement. Match light provides just enough light to show the hands of the spirit clapping behind her head.
Diegetic sound of children is deceivingly
happy, which is a contrasts the terror during the main body of the trailer. Behind the children’s laughter,
is a non-diegetic soundtrack, with minor notes and heavy breathing sounds, creating the feeling of someone blowing down your neck from behind. As the horror begins, the soundtrack quickly
ceases. A following moment of silence, exaggerates the synchronous wardrobe
handle sound effect that follows. The opening wardrobe sound symbolises the
horror being released. A warped sound effect gets louder as she approaches the
wardrobe. The amplified clap is used at three points of the trailer; beginning,
middle and end. The clap is symbolic throughout. Again, the kids’ voices are
used to contrast with the unnatural clap that the audience have just heard.
The contrapuntal sound of a child chuckling; adheres with the innocent
child theme. An amplified sound of a thumping heartbeat creates
tension for the audience. As she gets closer to the basement it gets faster, used
to raise the heart rate of the audience. Coinciding with the fast paced cuts parallel,
snappy sounds are used to comply with stereotypical horror scenes. A door
banging, a smashing light bulb and screams clearly communicate the peak of action. The woman
strikes a match which is realistically loud, to make the whole situation seem
genuine. Inversely, the hands re-appear beside the woman’s head. The clip finishes with a children’s nursery
rhyme, which again is total opposite to what the audience have just seen,
putting the children’s rhyme out of context, highlighting that something is
unnatural.
The happiness of moving house, is followed by an ellipsis which accelerates time as we
are then shown the family playing hide and seek when they’ve settled in the
house. A long take of the woman’s face as she reaches out towards the wardrobe
signifies the change from happy to sad. As we hear the parallel sound of the
wardrobe opening, we see her smile fade away. Long takes also represent the
sense of vulnerability as we see them standing
alone, battling with their own emotions. Before the woman walks over the
audience see a fade to black cut, where the fade hides match on action of the
woman turning around. By cutting out her turning action, we are only presented
with the real action as she begins to walk towards us. Eye line matches allows the audience to see the expression of the
protagonist, get an opinion of what it is, build suspense ready for what it is
and then see it. From then on, the clip is filled with fast paced cuts which are
always used to build tension and increase the heart rate of
the audience. Many straight cuts are used to advance time
as they only feature the frame that is important to the story. When walking around the house, pull focussing is used to draw
attention to certain articles associated with horror. The audience are
presented to look at certain things, from both an objective and subjective
perspective. Straight cuts in the dark generate tension towards the climax. One final fade transition is used at the end, matching the
fizzling out of the candle as the terror peaks and she is no longer seen. Fades
are common at the end of the trailer as
the problem will never be resolved.
The Damned Official Trailer 2014
A pull focus shot highlights the chains and nail being knocked in, showing this is a crucial component of the story. A panning view shot makes the audience aware of the environment and the heavy rain they contend with. An objective, bird’s eye view shot captures their minor importance in the nearby surroundings, portraying them as vulnerable. A close up shot of the 2 protagonists is immediately followed with a close up of the man’s hand reaching down to get something. The prevalence of this shot indicates it was this that caused the terror. Fast edits of close up facial shots and various framing shots create a balance that immerses the audience into their situation. They empathise with the characters and are made to feel like they are in the situation with them. For these shots, a hand held camera is used to create verisimilitude. A low angle subjective shot shows the audience a house on top of a hill, implying that this is the stereotypical ‘haunted house’. Medium close ups are used to show the protagonists reaction to the house and what’s inside of it. A behind over the shoulder shot is used when the woman explores the house, adding to the feel that something is following her. A framing shot of the woman looking through a hole in the door builds tension for the audience, as they know something is there, it’s just a matter of when it will appear. When in the lounge, 3 protagonists are all at different levels, creating a busy atmosphere. An extreme long shot shows the audience how isolated the antagonist is, as the girls stands there in the door way. As the girl sucks the blood from the other house members, a medium close up is used, so that the audience see just enough close up detail but can still see what’s around them. Different framing shots are used towards the end of the trailer to signify what’s causing the horror and how they deal with the pain.
The amplified synchronous sound of chains and knocking nails into a door are harsh and coarse sounds that coincide with the shot we see. Immediately following on, a non-diegetic soundtrack of an angelic chorus contrasts with traditional horror. By using voices, with no face to match, the audience are still unsure of what to expect which adds to the mystery. A woman’s voice indicates the vulnerability of the group, as women are seen to represent the ‘damsel in distress’. As the car ploughs through the water a loud, sound effect intensifies the gush of water that we see. A contrapuntal piercing sound is played for the next 4 seconds as we see different frames of fear. As the screech reaches a climax, we hear a crashing car sound, illustrating the current situation. When the group are let in the house, a smashing glass sound effect is played for two seconds. A repetitive, humming sound runs throughout the next scene, as the man breaks the sound with a diegetic whistle, stereotypically associated with the sound ghosts make. As the woman is stood on the landing, a diegetic, unexpected object falls from beside her. This unexpected sound is likely to make the audience jump, which then increases their heart rate, preparing them for what’s next. An unknown sound is coming from underneath the floorboards. This ironic stereotype of horror plays on the thought that we don’t know what’s hiding underneath our floorboards. As the audience are plummeted into darkness, a moment of silence is used to contrast with the door shake and the protagonist’s gasp. A non-diegetic drum sets the pace of the next few scenes. The minor thump of this drum is used in horror to regulate the heart rate of the audience. As the doll is picked up, the drum fades and the sound of a nursery rhyme is amplified.
The Damned Official Trailer 2014
A pull focus shot highlights the chains and nail being knocked in, showing this is a crucial component of the story. A panning view shot makes the audience aware of the environment and the heavy rain they contend with. An objective, bird’s eye view shot captures their minor importance in the nearby surroundings, portraying them as vulnerable. A close up shot of the 2 protagonists is immediately followed with a close up of the man’s hand reaching down to get something. The prevalence of this shot indicates it was this that caused the terror. Fast edits of close up facial shots and various framing shots create a balance that immerses the audience into their situation. They empathise with the characters and are made to feel like they are in the situation with them. For these shots, a hand held camera is used to create verisimilitude. A low angle subjective shot shows the audience a house on top of a hill, implying that this is the stereotypical ‘haunted house’. Medium close ups are used to show the protagonists reaction to the house and what’s inside of it. A behind over the shoulder shot is used when the woman explores the house, adding to the feel that something is following her. A framing shot of the woman looking through a hole in the door builds tension for the audience, as they know something is there, it’s just a matter of when it will appear. When in the lounge, 3 protagonists are all at different levels, creating a busy atmosphere. An extreme long shot shows the audience how isolated the antagonist is, as the girls stands there in the door way. As the girl sucks the blood from the other house members, a medium close up is used, so that the audience see just enough close up detail but can still see what’s around them. Different framing shots are used towards the end of the trailer to signify what’s causing the horror and how they deal with the pain.
The amplified synchronous sound of chains and knocking nails into a door are harsh and coarse sounds that coincide with the shot we see. Immediately following on, a non-diegetic soundtrack of an angelic chorus contrasts with traditional horror. By using voices, with no face to match, the audience are still unsure of what to expect which adds to the mystery. A woman’s voice indicates the vulnerability of the group, as women are seen to represent the ‘damsel in distress’. As the car ploughs through the water a loud, sound effect intensifies the gush of water that we see. A contrapuntal piercing sound is played for the next 4 seconds as we see different frames of fear. As the screech reaches a climax, we hear a crashing car sound, illustrating the current situation. When the group are let in the house, a smashing glass sound effect is played for two seconds. A repetitive, humming sound runs throughout the next scene, as the man breaks the sound with a diegetic whistle, stereotypically associated with the sound ghosts make. As the woman is stood on the landing, a diegetic, unexpected object falls from beside her. This unexpected sound is likely to make the audience jump, which then increases their heart rate, preparing them for what’s next. An unknown sound is coming from underneath the floorboards. This ironic stereotype of horror plays on the thought that we don’t know what’s hiding underneath our floorboards. As the audience are plummeted into darkness, a moment of silence is used to contrast with the door shake and the protagonist’s gasp. A non-diegetic drum sets the pace of the next few scenes. The minor thump of this drum is used in horror to regulate the heart rate of the audience. As the doll is picked up, the drum fades and the sound of a nursery rhyme is amplified.
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